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Author Topic: London concert April 2010  (Read 18189 times)
SeanSeanSean
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« on: December 26, 2009, 02:53:39 PM »

Yeah,
I might just go as I have been planning a trip to England.


http://www.nme.com/news/ennio-morricone/48988

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SeanSeanSean
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« Reply #1 on: February 15, 2010, 12:47:30 PM »

Anyone going to this concert?

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Novecento
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« Reply #2 on: February 16, 2010, 02:51:16 AM »

Just bought tickets! Expensive, but I am sure will be worth it!

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SeanSeanSean
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« Reply #3 on: February 20, 2010, 12:29:20 PM »

Just bought tickets! Expensive, but I am sure will be worth it!
You can count on that.
I attended the NYC concert in 2007 and I'm still overwelmed.
Of course I've been a fan of his music since 1966.
Enjoy!

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Novecento
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« Reply #4 on: February 21, 2010, 02:48:46 AM »

Yeh, I'm really looking forward to it. I have actually just moved back to London for a year and a half so the timing is really good for me.

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Juan Miranda
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« Reply #5 on: March 17, 2010, 09:27:45 PM »

Phew! Lucky I had a peek at the forum for the first time in ages or I'd have missed out on this. Got a ticket today and there aren't many left. Really looking forward to it and I've been in a great mood all day since I bought my seat at the show, cheers to SeanSeanSean for flagging this up!

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SeanSeanSean
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« Reply #6 on: March 20, 2010, 08:32:43 AM »

Phew! Lucky I had a peek at the forum for the first time in ages or I'd have missed out on this. Got a ticket today and there aren't many left. Really looking forward to it and I've been in a great mood all day since I bought my seat at the show, cheers to SeanSeanSean for flagging this up!
Your welcome.
Believe me you'll be in a great mood long after too. It is simply awesome seing Ennio conduct his materpieces. Probably akin to those who saw Mozart in person, in his day.
Hope you have good seats. In NYC 2007, I was in the 4th row, right  in front of Suzanna during the Soprano solos. I lost it during OUATITW.
Counting on you guys for reviews.

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Novecento
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« Reply #7 on: April 11, 2010, 04:36:01 AM »

I saw this last night at the Royal Albert Hall in London. It was really beautiful with several songs I had never heard before. The part that would interest people here the most was a wonderful compilation piece of scores from Sergio Leone films consisting of GBU (titles), OUATITW, DYS and Ecstasy of Gold. The Ecstasy of Gold was particularly good and was given an extended encore at the end of the night. Those soprano solos were incredible!

The whole thing was preceded by a 30 minute film about Morricone called "A Life in Music" and directed by his son Giovanni Morricone. This was then followed by a short introduction by Sir Christopher Frayling which was a very nice surprise.

 

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SeanSeanSean
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« Reply #8 on: April 11, 2010, 07:07:41 AM »

I saw this last night at the Royal Albert Hall in London. It was really beautiful with several songs I had never heard before. The part that would interest people here the most was a wonderful compilation piece of scores from Sergio Leone films consisting of GBU (titles), OUATITW, DYS and Ecstasy of Gold. The Ecstasy of Gold was particularly good and was given an extended encore at the end of the night. Those soprano solos were incredible!

The whole thing was preceded by a 30 minute film about Morricone called "A Life in Music" and directed by his son Giovanni Morricone. This was then followed by a short introduction by Sir Christopher Frayling which was a very nice surprise.

Sounds great. Those intros are special.
The 4 Leone pieces in a row have been part of his concerts for the past decade. The themes seem to flow from one to the other. I too discovered Abolisson which I'd never heard before the NYC concert. I missed more western themes such as:Like a judgment, OUATITW and My name is Nobody. But the Mission is awesome...

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Juan Miranda
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« Reply #9 on: April 11, 2010, 07:10:59 AM »

Well, last night was quite something... Purely subjective review follows.

The Royal Albert Hall. In the popular WWII song, home to Hitler's "other" gonad, and in film, the fictional arena in both versions of THE MAN WHO KNEW TOO MUCH and MAP OF THE HUMAN HEART (amongst others), and last night a magnificent setting for Ennio Morricone's first London gig since 2003. That occasion was also at the Albert Hall and on his 75th birthday too. And here he was, striding back onto the stage now aged 82, to thunderous applause about to lead an orchestra and choir, two hundred people strong, looking like a man some 20 years younger, but I'm getting ahead of the story.

My anticipation of this event was so vast that in the early hours of the morning Id had three daft little anxiety dreams in a row, all involving increasingly unlikely plots in which I somehow missed the concert. As it was I arrived at the venue in plenty of time after a stroll through Hyde Park, it being a beautiful day here in London. I had never been inside the Albert Hall before, and was suitably impressed by it's grandeur and theatrical spacial tricks. My seat was in the East Choir, which meant that instead of seeing Ennio's back for most of the show, I could view him in mid-left profile, with half the orchestra with their backs to me instead. I'd bought a small, nifty and powerful pair of binoculars specially for the show so I could see the man in close up too.

Things started with a slightly unnecessary half hour film, A LIFE IN MUSIC most of which consisted of documentary footage of live Morricone shows, including his previous Albert Hall one while we sat there waiting for the real thing to happen. Then there was a mad scramble for the bar. My boss at work had warned me that "It's a bastard of a place to get a drink in", and it proved the case and I gave up before the real first act started. As Novecento said, onto the stage comes our old chum, Sir Christopher Frayling, who introduces tonight's show and even gamely tries to whistle the theme from A FISTFUL OF DOLLARS, though there is a palpable wavering nervousness in his performance and who can blame him in this packed arena (needless to say it's been sold out for weeks). He leaves, the orchestra tune up and then suddenly Ennio marches on stage, a look of concentration already on his face as though he hardly notices the huge cheers from the audience, the sheer love we already feel for this artist even before he raises his baton and waves one note to life tonight.

He does though with a medley titled SCATTERED SHEETS, opening with music I was unfamiliar with from H2 S, a jagged, staccato, almost Stravinsky like in places piece. This segued neatly into the groovy theme from THE SICILIAN CLAN which Ennio really seemed to enjoy conducting and listening to, one of the few occasions of the whole evening where his perpetual slight frown vanished. This moved to a sinister piece from LOVE CIRCLE, which again I'd never heard, melting quietly into COME MADDALENA, maintaining the Euro-disco vibe to this selection.

Then, dramatically, the chorus stands as Morricone leaves the stage and leads on Susanna Rigacci to storms of applause. We've all read our free programmes and we know what's coming next; indeed the scene mists over for me as I can't believe what I'm about to experience, a sequence titled THE MODERNITY OF MYTH IN SERGIO LEONE'S CINEMA. And there is the coyote howl of THE GOOD, THE BAD AND THE UGLY!! Some could accuse the orchestration of this version of being a tad camp, but fuck them, this is brilliant, this is the stuff, but then, bloody hell, the slow, elegant chimes of ONCE UPON A TIME IN AMERICA take over and before Rigacci even "Oooo's" her first "Ooooo-ooooooooo" the whole audience is like jelly, staggered at the sheer beauty which we're hearing, singing along with internally and marvelling that it came from inside the head of the man on stage in front of us calmly waving his baton in the air, looking for all the world like a prosperous, bourgoise, retired Roman gent frowning over a dinner menu in a Parioli district restaurant rather than arguably the world's greatest ever film composer (and you'll get no argument from me tonight, pal).

Then the martial strokes of the revolutionary violins which herald David Warbeck handing out propaganda leaflets in GUI LA TESTA and a rather swinging version of "the Sean Sean song" strikes up. Just when you think things can't possibly get any better there's that rumble and tubular bell heralding THE ECSTASY OF GOLD. Seeing and hearing this was was simply one of my greatest ever art experiences, and y'do get quite jaded when you get to my age. There ended part one and I somehow found myself first in line at the nearest bar with all that sound and emotion bursting in my mind. Twenty minutes later we're back for more, TRE ADAGI, which starts with an arrangement of DEBORAH'S THEME. Usually this leaves me a blubbering wreck, but almost thankfully on this occasion Morricone had kinda spoiled it by adding some annoying and intrusive "romantic" solo violin doodles dominating the piece (played by Marco Serino), so I was able to enjoy it with out having to pretend I had something in my both eyes at once. In fact by this time one of the pleasures of the concert was watching the emotional states of the people around you, many openly weeping and wiping away the tears and snot. The ADIGI continued with VATEL and when it ended with ADDIO MONTI (from I PROMESSI SPOSI) there was a palpable sigh of disappointment from the whole auditorium that it couldn't have lasted longer.

A flute dominated selection followed with NOSTROMO, PER LE ANTICHE SCALE and L' EREDITA' FERRAMONTI featuring Monica Berni as soloist and the last two pieces as a tribute to film maker Mauro Bolognini. Here again Ennio seemed to step out of his poised and controlled stance and lean forward to the orchestra, gesturing with both his hands and the fleeting expressions on his face. He even smiled at one point, the only time I noticed him doing so the whole night while conducting. One of the things which surprised me watching him perform was how closely and intensely he studied his score, as I said with an almost permanently furrowed brow of concentration. Surely he knows the work off by heart by now? Through my binoculars I could see his large gold wedding ring, his chunky, square, silver cuff links and the almost steel like eyes as they ran across the pages of his own music. Possibly this need to focus on the score is one of the few outward signs of Ennio's age?

He finished the evening with a trio of pieces from THE MISSION, a true crowd pleaser you could tell. I can't stand the film myself, but it has an undeniably wonderful, powerful soundtrack too good for it which, when it finished had the audience on their feet demanding an encore. Ennio obliged with, I'm glad to say, a medley from CINEMA PARIDISO. Say what you like about the movie, the music is a sheer joy. However that didn't satisfy us either, and with the rumble of the entire crowd demanding more Ennio led Susanna Rigacci back on stage for a reprise of ECSTASY OF GOLD which caused earthquake like symptoms as we demanded yet more - the floors shook and my arms are still sore from the amount of clapping they were put through. Ennio could have been mischievous and sent us home with the theme from THE THING. Instead he finished with a reprise of THE EARTH AS IT IS IN HEAVEN from THE MISSION, again forming a slightly stiff figure seemingly oblivious to the enormous sounds and emotional landscapes he conjured up for us before finally closing the large green folder holding his work and bidding us all goodnight. I only hope I can see him do it all again one day.

« Last Edit: April 14, 2010, 04:47:00 PM by Juan Miranda » Logged

SeanSeanSean
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« Reply #10 on: April 11, 2010, 08:30:02 AM »

Well, last night was quite something... Purely subjective review follows.
...
I only hope I can see him do it all again one day.
Great review, awesome!
It's a new concert. I should have gone after all.
Your text is great. I suggest you send it to London papers as a review.
It's that good!
Now if only Ennio can return to America...
Ciao!

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SeanSeanSean
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« Reply #11 on: April 11, 2010, 08:54:38 AM »

already many clips on Youtube of the RAH concert:

http://www.youtube.com/watch?v=FMCxL8TqfPQ

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« Reply #12 on: April 11, 2010, 01:30:09 PM »

Rockin'.  Afro

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Novecento
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« Reply #13 on: April 11, 2010, 01:38:28 PM »

I too discovered Abolisson which I'd never heard before the NYC concert.

From Queimada right? Yeh, that's a good one.

Things started with a slightly unnecessary half hour film, A LIFE IN MUSIC most of which consisted of documentary footage of live Morricone shows, including his previous Albert Hall one while we sat there waiting for the real thing to happen.

Yeh, my wife and I thought exactly the same thing. It would have been a good documentary but not really something you put before a live performance! Having said that I did find interesting the interview with Moriconne when he said he only worked with directors he liked personally and who left him up to his own devices because otherwise he could not get any inspiration.

Ennio obliged with, I'm glad to say, a medley from CINEMA PARIDISO. Say what you like about the movie, the music is a sheer joy.

I say the movie is awesome; I also say the music is awesome! To me Tornatore and Morricone is the best thing since Leone and Morricone and no wonder Moriconne seems to score all of Tornatore's movies.

Great review, awesome!

Yes, really good review Juan Miranda. I felt like I was re-living it all over again.

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« Reply #14 on: April 16, 2010, 07:35:02 AM »

http://www.youtube.com/watch?v=jSZXQcjPGDw&feature=related

Still on a high from it these few days later. While none of the vids of the show are of a decent quality I thought this one (not filmed by me), of the second encore with the house lights up captures the emotion, joy and scale of the event. A night never to be forgotten. Thanks for the kind words, BTW.

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